In the absence of a de facto Best Picture frontrunner, the Oscar here usually goes to the slickest contender.
I don’t expect you to read this, and you have every right not to.
It’s still no Drag Race, but the contest for costume design just got a little bit more interesting over the weekend.
This upcoming Sunday, the collective nightmare known as awards season will be effectively over.
This past weekend, Gravity claimed the Live Action Film award for sound mixing from the Cinema Audio Society, one more precursor voting body whose results could prove prescient when it comes to Oscar’s March 2nd endgame.
It’s a good thing the Best Director category didn’t go the way of Best Picture to accommodate more nominees, because this year’s campaign has only ever been a three-man race even in its most competitive stages.
The ultimate takeaway here is that predicting this category is a total crapshoot—that, or we don’t know shit.
Last year’s tie in this category allowed us the unique opportunity to call it either 50 percent right or 50 percent wrong.
If there’s anything with even the slightest ability to nudge Cate Blanchett’s path to Oscar victory off course, it’s the seemingly endless Farrowgate scandal.
If this year’s Best Actor race is all about which nominee brandishes the most compelling story, then Christian Bale faces some mighty long odds.
There’s a great line in Jules and Jim about fictions that “revel in vice to preach virtue.”
To shove the elephant out of the room right off the bat, two actually relevant things are working against Woody Allen’s chances for a win here.
As was recently reported by the hive of Oscarologists over at Gold Derby, American Hustle has history on its side when it comes to the acting races.
This year’s crop of Original Score nominees hits all the markers that we’ve come to expect.
Oscar’s documentary lineup typically constitutes the black sheep-iest of the award show’s 24 races, but this year’s crop of nominees is less odd, less disreputable, than usual.
No Oscar category has become as big a flash point among cinephiles as the cinematography prize.
If you ask me, though, it’s easily the most repellant of all 24 lineups, and one of the more shameful nominee crops in recent Academy history.
Although the conclusion is foregone, this year’s visual effects category reveals some hard truths about the current state of big-budget moviemaking.
If we pretend this contest is legitimate, The Hollywood Reporter may be right that The Croods stands a fighting chance here.
It’s a classic case of two wrongs inciting the Right, from a branch that lately can’t seem to make up its mind whether to nominate too many songs or too few.